STACK 
ANNEX 


AHD-PLM  * 


HALL 


Wilh  Brush 
ana 

A  Manual  of  the  Newer 
and  More  Artistic  Phases 
of  Public  School  Art  In- 
struction   


By  James  Hall,  Director  Art  Educa- 
tion, Public  Schools,  Springfield,  Mass. 


The  J.  C.  Witter  Company 
Educational  Art  Publishers 
76  Fifth  Avenue,  New  York 


Copyright 
THE  J.  C.  WITTER  COMPANY 


Contents. 

INTRODUCTION, 

Brush  Drawing. 
MATERIALS,  .  . 

FIRST  PRACTICE,         .  .  . 

INK-WORK, 
COLOR,  . 

DECORATIVE  ARRANGEMENT  APPLIED, 
DESIGN,  .  .  .  , 

PICTORIAL  COMPOSITION,  . 

Pen  Drawing. 

FIRST  PRACTICE. — OUTLINE,  . 

STILL  LIFE,          .  .  . 

LANDSCAPE,    .... 


FAGE. 

•       5 


ii 

16 

21 

28 

30 
36 
42 


5' 

57 
62 


2065988 


Illustrations. 


Materials. 

Initial, Charles  M.  Campbell 

First  Practice. 

Initial,        ......  Grammar  Pupil 

Curves.  Grasses,  Silhouettes,        .         .         Primary  Pupils 

Ink-Work. 

Initial, Charles  M.  Campbell 

Silhouettes. 

Japanese  Drawing.         .         Permission  of  Bunkio  Matsuki 

Drawing  in  Values,          ....     Grammar  Pupil 

Color. 

Initial,  .....  Clara  F.  Robinson 

Decorative  Arrangement  Applied. 

Initial,         ......      Leirion  H.  Johnson 

Decorative  Panel, Mucha,  Paris 

Decorative  Panel. 

Initial  Designs, M.  J.  Dyer 

Initial  Designs,          ....  Grammar  Pupils 

Design. 

Initial,     .......         Mary  Snedekor 

Units  of  Design. 
Surface  Design. 

Surface  Designs, E.  S.  Beavers 

Book  Cover  Designs,  .        .        .         Grammar  Pupils 

Pictorial  Composition. 
Initial. 

Plant  Compositions,       ....       Grammar  Pupils 
Landscape  Compositions,          .         .          Grammar  Pupils 

First  Practice. 

Initial, Charles  M.  Campbell 

Outlines. 

Still  Life. 

Initial. 

Still  Life  Sketches. 

Landscape. 

Initial. 

Initial Charles  M.  Campbell 

Landscape  Sketches. 
Figure  Studies. 


Introduction. 


A  BROADER  conception  of  art  education  is  coming 
into  existence  among  the  directors  of  drawing 
in  the  public  schools. 

That  the  individuality  of  the  child  should  be  re- 
spected and  his  own  expression  encouraged,  that  he 
should  be  made  to  feel  himself  a  creator,  and  that  he 
should  be  led  to  see  beauty  and  to  create  things  beauti- 
ful —  these  ideas  should  permeate  the  work  of  the 
teacher. 

It  is  not  long  since  precise  and  mechanical  directions 
regarding  even  such  things  as  the  placing  of  a  drawing 
upon  the  paper  were  thought  necessary  in  order  to  se- 
cure uniform  results  from  a  class.  Nothing  could  be 
more  antagonistic  to  the  spirit  of  art,  for,  though  sub- 
ject to  universal  laws,  art,  in  its  very  nature,  must 
always  be  individual  in  its  expression. 

And  so,  if  we  are  to  attempt  to  teach  art,  or  rather 
to  develop  artistic  feeling,  we  must  treat  the  children 
as  individuals,  and  encourage  original  thought  instead 
of  trying  to  bring  them  all  to  one  fixed  standard. 

Experience  proves  that,  under  the  influence  of  a  sym- 
pathetic and  artistic  teacher,  children  love  to  exercise 
the  artistic  instincts  of  their  natures,  and  often  gain 
surprising  power  of  expression.  They  have,  hereto- 
fore, been  limited  far  too  much  in  many  ways. 

Mediums  or  materials  to  be  used  in  our  instruction 
should  be  determined  by  the  nature  of  the  subjects  to 
be  drawn,  as  well  as  by  the  needs  of  the  pupils.  Com- 
mon sense  must  be  a  guide  always  in  such  decisions. 

While  the  brush  seems  best  for  the  little  children, 
for  many  reasons,  and  is  a  necessity  always  in  giving 
true  color  instruction,  it  must  be  remembered  that  at 
times  the  careful  study  of  outline  is  desirable,  or  care- 
lessness will  be  apt  to  creep  into  the  work.  By  no 
means  does  this  book  advocate  the  substitution  of  the 
brush  and  pen  for  the  pencil.  The  pencil  is  by  far  the 


most  convenient  and  best  medium  for  much  of  the 
work  that  is  included  in  a  well-considered  course  of 
art  instruction. 

The  present  interest  in  brush-work,  as  well  as  in  pen 
and  ink  drawing,  among  supervisors  seems  sufficient 
reason  for  publishing  on  these  subjects  something  con- 
taining such  practical  suggestions  as  only  experience 
in  school  work  can  give. 

The  illustrations,  particularly  those  produced  from 
children's  drawings,  will,  it  is  believed,  prove  a  stimu- 
lus to  those  who  are  still  working  in  the  old  and  beaten 
paths.  That  those  paths  lead  to  an  understanding  of 
the  science  of  drawing,  and  should  not  be  entirely  for- 
saken, is  something  not  to  be  lost  sight  of  by  enthu- 
siasts in  the  more  artistic  methods. 

The  grammar  of  drawing  should  be  somewhere  in- 
cluded in  our  course.  It  does  not,  however,  in  itself 
constitute  art  instruction,  nor  will  it  (taught  never  so 
well)  infuse  into  our  American  life  the  love  of  beauty, 
a  reverent  and  sensitive  appreciation  of  nature's  riches, 
nor  will  it  implant  ideals  in  the  mind  which,  working 
outward,  will  tend  to  make  streets  and  homes  more 
harmonious  in  appearance.  These  things  are  sorely 
needed  to-day  amid  the  harshness  and  discordancy, 
the  tawdriness  and  sham  to  be  found  in  the  lives  and 
surroundings  of  too  many  of  our  people. 

Surely  the  drawings  that  the  children  put  on  paper 
are  of  little  consequence  in  themselves.  A  dirty  set  of 
sheets,  much  paper  spoiled — these  things  are  nothing  if 
earnest  effort  has  been  put  forth.  We  are  not  teachers 
of  drawing  alone.  It  is  for  us  to  help  make  men  and 
women  who  feel  the  God-given  power  within  themselves. 
The  world  is  too  full  of  drudges — people  without  ideals, 
machines  that  work  because  they  must  in  order  to  keep 
up  existence. 

If  there  is  to  be  any  measure  of  contentment  in  our 
country  among  the  people  who  work  with  their  hands, 
there  must  be  developed  something  of  the  artist-artisan 
spirit  of  the  middle  ages,  and  the  spirit  of  William  Mor- 

6 


ris  of  our  own  day.  Then  shall  be  known  what  Ruskin 
calls  the  "joy  of  the  workman,"  the  joy  which  a  creator 
feels  in  his  own  creation,  wrought  lovingly,  conscien- 
tiously, his  best  effort,  the  child  of  his  brain  and  his 
hands. 

If  we  help  to  bring  about  with  the  children  this  spirit 
of  the  true  artist,  we  do  our  work  well.  It  matters  little 
by  what  means  it  is  done.  It  is  the  spirit  of  the  work, 
not  the  medium,  that  is  of  real  importance. 

Art  directors  should  base  their  plans  of  work  on  broad 
principles.  This  book  does  not  attempt  to  lay  out  a 
course  or  even  part  of  a  course  in  drawing. 

It  is  hoped,  however,  that  the  hints  here  given  may 
be  of  practical  value  to  teachers  who  wish  to  give  the 
children  a  chance  to  express  themselves  with  brush  and 
pen. 


Brush  Drawing. 


Materials. 

ANY  directors  of  drawing  have 
hesitated  about  introducing  brush- 
work  into  the  grades  on  account 
of  the  supposed  great  expense  of 
materials.  It  is  now  possible, 
however,  to  buy  these  very 
cheaply  in  quality  sufficiently  good 
for  school  purposes. 

Brushes. — Sable  brushes  (num- 
bers 6  and  7)  set  in  metal  with 
wooden  handles,  can  now  be 
bought  in  quantity  for  2-£  to  5  cents 
apiece.  Number  6  is  a  convenient 
size  for  primary,  and  number  7  for  grammar  school  use. 
Japanese  brushes  are  sold  to  schools  at  5  cents  apiece. 
They  are  larger  than  the  sable  brushes  referred  to,  but 
are  more  flexible,  and  come  to  a  good  point.  They  are 
excellent  while  they  last,  but  are  less  durable  than  the 
sable,  as  the  brush  is  liable  to  separate  from  the  bam- 
boo handle. 

Colors. — In  many  ways  it  is  most  satisfactory  to  buy 
the  cake  colors  in  boxes.  Boxes  containing  the  six 
standard  colors,  red,  orange,  yellow,  green,  blue  and 
violet,  also  a  warm  gray  and  a  cool  gray  are  sold  for 
twenty  or  twenty-five  cents  apiece. 

When  boxes  are  used,  the  colors  are  mixed  in  the  in- 
side of  the  cover  which  is  pressed  into  three  compart- 
ments and  enameled  white  for  the  purpose. 

Moist  colors  in  tubes  cost  about  $1.00  per  dozen 
tubes.  These  wet  up  and  mix  more  easily  than  the 
cake  colors  and  are  therefore  better.  However, 
more  time  and  labor  is  required  for  distribution  and 
collection  of  material  than  when  the  boxes  are  used. 
Quite  satisfactory  brush-drawings  are  possible  with 


11 


the  use  of  only  three  colors,  crimson  lake,  Prussian 
blue,  and  gamboge ;  but  for  delicate  gradations,  or  for 
a  brilliant  orange  or  violet  these  colors  are  not  true.  It 
is  desirable  to  provide  the  six  spectrum  colors. 

Pans* — Tube  colors  may  be  used  on  ordinary  flat- 
bottomed  tin  pie-plates.  In  quantity  these  plates,  7 
inches  in  diameter,  cost  about  i£  cents  apiece.  It  is 
advisable  to  have  them  painted  with  two  coats  of  the 
best  white  bath-tub  enamel.  This  prevents  rusting 
and  gives  a  good  surface  on  which  to  mix  the  colors. 
The  enamel  is  not  very  expensive,  and  a  careful  school- 
boy can  paint  the  pans. 

To  take  the  place  of  the  plates  a  device  of  pressed 
tin,  with  six  compartments,  enameled  white  is  now 
sold. 

Experience  seems  to  show,  however,  that  the  plate 
is  quite  as  good,  for  when  water-colors  are  properly 
handled  there  is  no  advantage  in  having  them  in  sepa- 
rate compartments.  In  fact  it  is  much  easier  to  use 
the  colors  when  they  are  placed  side  by  side  on  the 
plate. 

Cups  for  Water.— Pressed  tin  cups,  2%  or  3  inches  in 
diameter  at  the  top  and  smaller  at  the  bottom,  and  i^ 
inches  deep  are  excellent  for  holding  the  water. 
These  should  also  be  enameled  to  prevent  rusting. 
The  cup-cake  tins  used  in  bakeries  cost  about  i£  cents 
apiece.  The  thinness  of  the  tin  and  the  consequent 
ease  with  which  the  cups  fit  into  each  other  make  them 
convenient  for  schoolroom  use,  as  they  can  be  packed 
into  a  small  space. 

Paper. — Any  good  drawing  paper  is  suitable  for  brush- 
work.  That  which  in  the  9x12  inch  size  weighs  9  Ibs. 
to  the  ream  is  sufficiently  heavy  not  to  cockle  up  when 
the  color  is  applied. 

It  is  best  to  provide  cream  white,  gray  and  buff 
paper.  Then  the  character  of  the  subject  to  be  drawn 
can  be  considered  and  the  paper  that  best  harmonizes 
can  be  chosen  by  the  pupils. 


12 


Distributing  Materials. 

Different  methods  will  occur  to  different  teachers,  but 
under  the  best  conditions,  ten  or  fifteen  minutes  will  be 
consumed  in  the  distribution  and  collection  of  materials 
for  a  water-color  lesson.  It  is,  therefore,  advisable  to 
adopt  some  well-considered  plan.  It  is  a  saving  of  time 
to  have  the  lesson  in  drawing  the  first  in  the  school 
session,  so  that  materials  can  as  far  as  possible  be 
made  ready  before  school  begins. 

If  tube  colors  are  used,  the  pans  should  be  prepared 
with  the  colors  upon  them,  and  placed  upon  a  table 
ready  for  distribution.  Then  the  children  may  pass 
up  by  rows,  each  child  taking  a  pan  to  his  desk. 

The  cups  should  be  placed  on  a  tray  and  filled  two- 
thirds  full  of  water.  Then  as  the  teacher  passes  up  and 
down  the  aisles  with  the  tray,  each  pupil  can  take  his 
cup. 

Brushes  and  paper  should  be  given  to  the  pupils  sit- 
ting in  the  front  seats.  They  can  quickly  pass  these 
materials  to  the  others  sitting  back  of  them. 

The  best  position  on  the  desk  for  the  water-cup  is  the 
further  left  corner.  It  is  least  apt  there  to  be  tipped 
over,  and  if  it  does  spill,  it  does  little  harm,  as  the 
water  goes  to  the  floor. 

The  box  or  pan  is  least  in  the  way  when  placed  im- 
mediately in  front  of  the  cup. 

It  is  always  well  to  give  to  each  pupil  a  piece  of  prac- 
tice paper  on  which  to  try  his  colors,  in  addition  to  the 
sheet  on  which  the  drawing  is  to  be  made. 

A  piece  of  blotting-paper  is  sometimes  useful.  When 
too  much  color  has  been  put  upon  the  paper,  the  color 
may  be  lifted  by  careful  application  of  the  blotter. 

If  yellow  and  blue  are  used  to  mix  green,  twice  as 
much  at  least  of  the  gamboge  will  be  required  as  of  the 
Prussian  blue. 

If  the  cap  of  a  tube  can  not  be  readily  unscrewed, 
hold  a  lighted  match  so  as  to  heat  the  cap — all  around. 
It  will  the;i  easily  turn. 

13 


Tubes  of  color  should  not  be  ordered  in  quantities  so 
large  that  they  will  need  to  be  kept  many  months,  as 
the  color  is  liable  to  harden  within  the  tubes.  It  is 
then  useless. 


14 


Care  of  Materials. 

Intelligence  must  be  exercised  by  the  teacher  in  the 
care  of  all  the  materials  used  in  brush-work. 

Brushes* — Brushes  can  be  best  kept  in  a  vase  or  jar, 
the  handles  of  the  brushes  being  downward. 

At  the  end  of  a  lesson  each  pupil  should  thoroughly 
rinse  his  brush  in  the  cup  of  water,  and  carefully  bring 
it  to  a  point  by  drawing  it  over  the  edge  of  the  cup.  It 
is  especially  necessary  that  the  brushes  be  thoroughly 
washed  after  using  the  ink,  or  the  colors  will  be  soiled 
when  the  brush  is  used  for  color-work. 

The  brushes  should  never  be  used  to  wash  out  boxes 
or  pans,  as  such  treatment  will  quickly  wear  them  out. 

During  the  summer  vacation  the  brushes  must  be 
rolled  up  in  a  cloth  with  camphor,  as  otherwise  the 
moths  are  liable  to  eat  them. 

Color  Boxes  and  Pans* — Color  boxes  should  be  kept 
clean.  Each  pupil  may  be  provided  with  a  small 
sponge  or  cloth  for  the  purpose  of  wiping  out  his  box 
after  the  lesson,  or  the  teacher  may  let  several  of  the 
most  careful  pupils  pass  up  and  down  the  aisles  and 
wash  the  boxes  of  the  class. 

The  same  cleanliness  should  be  observed  if  pans  are 
used  with  the  tube  colors. 

Tube  Colors,  —  The  tube  colors  can  easily  be 
wasted  unless  the  teacher  exercises  care.  No  more 
color  should  be  placed  on  the  pans  than  it  is  reasonable 
to  suppose  will  be  needed  for  the  lesson,  but  no  good 
color  need  be  washed  off  at  the  end  of  the  lesson.  To 
keep  the  color  from  drying  between  times,  the  pans 
should  be  placed  face  to  face. 

Only  such  colors  as  are  needed  for  the  subject  to  be 
drawn  should  be  placed  on  the  pan.  These  should  be 
near  the  margin  and  about  half  an  inch  apart. 

It  is  well  to  have  some  order  in  placing  the  colors. 
Beginning  with  the  lightest,  and  going  to  the  darkest, 
from  right  to  left,  is  as  satisfactory  as  any  arrangement. 

15 


First  Practice. 


HE  first  lessons  in  the  pri- 
mary grades  will  be  neces- 
sarily given  to  instruction 
in  the  use  of  materials. 
Little  children  need  to  be 
told  very  definitely  just 
how  to  hold  the  brush, 
how  to  convey  the  water 
to  the  pans,  and  how  to 
mix  the  color.  The  same 
instruction,  hardly  less  definite,  is  desirable  in  all  grades. 
The  brush  should  be  held  in  a  vertical  position  and  at  the 
base  of  the  handle,  and  all  strokes  should  be  made  by 
moving  the  arm,  not  the  fingers.  The  older  children 
can  steady  the  hand  by  resting  the  fourth  and  little 
fingers  upon  the  desk,  and  sliding  upon  the  finger-nails, 
but  the  smaller  children  should  work  without  touching 
the  hand  to  the  paper.  This  applies  to  general  brush 
drawings;  not,  of  course,  to  the  laying  of  washes  or  the 
painting  of  broad  surfaces.  The  first  brush  lessons 
with  the  little  children  would  best  be  with  color  rather 
than  with  ink,  though  it  matters  little  what  color  is 
used.  It  will  be  found  helpful  to  give  as  first  exercises 
the  drawing  of  simple  lines.  Curved  lines  will  be  quite 
as  valuable  as  straight  ones  in  giving  practice  in  the 
use  of  the  brush  and  they  are  far  more  helpful  as  a 
step  toward  the  work  from  nature  which  should  follow 
as  soon  as  possible.  The  straight  line  is  without  inter- 
est to  the  children,  and  is  seldom  found  in  nature, 
whereas  the  essential  beauty  of  all  grasses  and  flowers 
lies  in  their  beautiful  curvature. 

A  leading  art  teacher  has  broadly  classified  curves 
into  three  kinds :  The  curve  of  force,  the  reversed  curve, 
and  the  spiral.  This  classification,  though  not  exact, 
has  been  found  most  helpful  in  developing  a  perception 
of  beauty  among  teachers  and  children.  Practice  of  these 


16 


curves  alone  and  in  combination  is  strongly  recom- 
mended, not  only  in  the  first  brush  lessons  but  also 
as  an  occasional  exercise  for  giving  muscular  control 
and  as  a  help  toward  freedom  in  the  use  of  the  brush. 
The  accompanying  illustrations  will  suggest  exercises 
of  this  kind. 

Abstract  practice  is  always  as  far  as  possible  to  be 
avoided,  and  these  exercises  of  curves  should  not  be 
too  frequent  nor  long  continued.  The  lessons  can  be 
given,  however,  to  the  little  children  so  that  the  curves 
will,  to  them,  have  a  meaning.  The  curve  of  force  is 
the  "rocket "or  a  "fountain;"  the  reversed  curve  a 


17 


"  wave  "  or  a  "  cow's  horn;  "  while  the  spiral  suggests 
any  number  of  things  to  the  childish  imagination,  from 
the  elephant's  trunk  to  the  tiny  snail  shell. 

The  width  of  a  brush  line  in  first  practice  should  be 
about  as  in  the  illustrations.  It  should  not  be  for- 
gotten that  the  best  handling  of  any  medium  is  that 
which  is  most  natural.  A  brush  line  as  fine  as  a  pencil 
line  is  possible,  and  sometimes  desirable,  but  should  not 
be  attempted  until  some  facility  of  handling  has  been 
acquired.  Varying  the  width  of  a  stroke  by  change  of 
pressure  upon  the  brush  should  be  practiced  after  the 
pupils  are  able  to  draw  a  firm  even  line.  Vigorous 
brush-work  requires  rather  a  rapid  movement;  hence 
careful  thinking  is  all  important  before  the  brush 
touches  the  paper.  Trial  movement,  "  making  believe 
draw,"  is  helpful. 

No  preliminary  pencil  lines  are  ever  to  be  used  in 
brush  drawing  except  in  very  rare  cases  in  advanced 
work.  Such  crutches  take  away  the  real  freedom  and 
charm  of  the  medium. 

Some  of  the  subjects  which  seem  made  for  brush 
drawing  are  the  grasses,  sedges  and  simple  leaves  like 
the  clover  and  the  willow.  It  is  better  to  attempt  sim- 
ple sprays  of  leaves  from  the  first  in  preference  to  single 
leaves. 

The  representation  of  color  by  the  younger  children 
will  be  crude,  as  indeed  will  be  the  drawing,  and  the 
teacher  must  not  misunderstand  this  crudity.  The 
child's  best  effort  is  all  that  we  have  any  right  to  ex- 
pect. Care  must  at  all  times  be  encouraged  by  the 
teacher  and  suggestions  given  that  will  help  the  children 
to  see  the  essentials,  the  long  lines  and  the  character  of 
large  masses.  We  must  not  judge  children's  drawings 
by  art-school  standards.  We  should  commend  all  sin- 
cere effort,  and  the  teacher  who  becomes  familiar  with 
childish  art  will  soon  develop  new  standards  of  judg- 
ment and  find  many  drawings  possessing  a  kind  of 
dainty  clumsiness  and  a  charm  sometimes  lacking  in 
work  by  grown  up  people. 

18 


Drawings  by  Primary  School  Pupils, 


19 


Iti 


Drawings  from  Life  by  Primary  Pupils. 


Ink-Work. 


OME  valuable  lessons  in  sim- 
plicity of  treatment  have 
been  given  to  the  public 
through  the  recent  fad  of  the 
artistic  poster.  Done,  as  they 
are,  in  flat  tones,  they  are  in 
many  cases  practically  silhou- 
ettes. With  an  absolute  dis- 
regard for  all  minor  details, 
it  becomes  all  the  more  nec- 
essary that  the  long  lines  and 
large  masses  possess  firm- 
ness and  character. 

The  beauty  of  a  silhouette 
has  long  been  appreciated 
by  the  Japanese,  and  we  may  find  frequent  examples 
in  any  collection  of  Japanese  prints.  The  sun  or  moon 
throwing  the  shadows  of  a  vine  on  a  window-curtain 
show  us  again  the  beauty  of  a  silhouette,  and  the  elec- 
tric light  gives  us  a  more  intense  effect  of  the  same 
kind,  with  its  inky  shadows  of  branches  on  the  side- 
walk. 

Just  at  evening  we  may  see  the  trees  in  flat  masses 
against  the  sky,  or  the  weeds  and  grasses  on  the  brow 
of  a  hill,  full  of  suggestion  for  decorative  one-tone 
drawings. 

Ordinary  writing  ink  may  be  used  very  effectively  on 
white  paper,  but  is  more  pleasing  on  a  paper  of  a  gray 
tint,  or  on  a  background  of  a  very  light  tint  of  the  ink. 
Autumn  supplies  UP  plentifully  with  subjects.  The 
withered  weeds,  plants  that  have  gone  to  seed,  twigs 
stripped  of  all  but  two  or  three  leaves,  are  especially 
appropriate. 

The  effectiveness  of  the  drawing  depends  greatly 
upon  the  arrangement  within  its  enclosing  form.  It  is 


21 


well  for  the  teachers  to  give  an  object-lesson  before  the 
class.  On  differently  proportioned  pieces  of  paper  the 
twig  or  plant  may  be  placed  in  various  positions.  The 
children  will  notice  which  enclosing  form  is  best  suited 
to  the  subject,  and  which  arrangements  in  the  form  are 
most  pleasing.  The  following  thoughts  should  be 
borne  in  mind  by  the  teacher  in  developing  the  subject. 

i  st.  Avoid  dividing  the  sides  of  the  enclosing  form 
into  halves,  thirds  or  fourths,  or  any  easily  distin- 
guished parts,  as  in  Fig.  i.  Figure  2  is  better,  being 
more  subtle  and  less  mechanical. 

2d.  Avoid  space  divisions  which  are  equal  in  area  or 
similar  in  form.  Figs.  3  and  4  are  both  open  to  criti- 
cism in  these  respects.  In  Fig.  3  the  spaces  a  and  b 


are  both  equal  and  similar.  In  Fig.  4,  though  unequal, 
a  and  c  form  similar  figures,  while  b  and  c,  though  dis- 
similar, are  too  nearly  equal  in  area.  Figs.  5  and  6 
show  more  satisfactory  space  divisions.  They  trans- 
gress none  of  the  preceding  rules  and  have  in  their  di- 
visions a  variety  of  form  and  a  gradation  of  size. 

It  is  also  well  to  avoid  a  scattered  effect. 

Things  should  be  so  arranged  as  to  form  a  unit. 
There  should  be  a  principal  mass  larger  and  more  im- 
portant than  any  of  the  others,  on  which  the  eye  natu- 
rally would  rest.  Smaller  masses  should  give  us  the 
feeling  of  an  echo  of  this  principal  mass,  but  should 
never  divide  the  interest  of  the  drawing. 


If  the  object  to  be  drawn 
is  sufficiently  large,  as  a 
mullein  or  cornstalk  it  may 
be  placed  at  the  front   of 
the  room.     In  the  autumn  when  these 
are  brown  they  are  excellent  subjects, 
and    placed    in    this  way    against    a 
light  background  appear  practically  as  silhouettes,  so 
much  of  the  detail  is  lost  at  a  little  distance.     Smaller 
subjects  should  be  arranged  by  each  pupil  at  his  desk. 

In  drawing,  the  first  thought  should  be  for  the  char- 
acteristic line  of  growth,  or  what  Ruskin  calls  the 
"gesture  of  the  plant."  The  masses  may  sometimes 
be  broken,  as  in  the  accompanying  drawings,  the  paper 
being  left  here  and  there  in  such  a  way  as  to  suggest  a 
separation  of  edges. 

Occasionally  work  of  this  kind  will  be  interesting  for 
both  grammar  and  high  schools  and  leads  better  than 
does  anything  else  I  know  to  true  conventionalization. 

What  the  children  call  a  "white  shadow"  may  also 
be  interesting  as  an  experiment  in  decorative  effect. 

To  make  this  a  pencil  outline  of  the  subject  must  be 
drawn  very  simply  and  then  the  background  filled  in. 
This  exercise  requires  much  care  and  it  is  best  not  to 
try  too  large  a  subject  as  it  is  difficult  to  cover  large 
spaces  evenly  with  the  ink.  An  example  is  given  of  a 
drawing  of  sedge  done  in  this  way. 

25 


Drawing  in  Values  by  Seventh  Grade  Pupil. 


26 


The  same  effect  can  be  gotten  by  drawing  in  Chinese 
white  on  black  paper. 

Values  can  be  effectively  represented  in  ink  washes 
and  this  work  is  strongly  advised  for  the  upper  gram- 
mar grades.  It  is  best  to  choose  as  subjects  things 
with  pronounced  difference  of  color-values.  It  is  well 
for  the  pupils  to  decide  before  beginning  the  drawing, 
how  many  values  are  necessary  to  give  the  effect  of 
color.  Not  more  than  three  or  four  should  be  at 
tempted.  It  is  often  helpful  for  the  children  to  make 
a  scale  of  the  values  on  the  practice  paper  before  draw- 
ing. This  helps  to  a  more  definite  appreciation  of  the 
differences  in  light  and  dark  that  must  be  shown  to 
express  the  colors  in  the  subject  before  them.  The  re- 
production of  the  Japanese  drawing  and  the  child's 
drawing  of  the  woodbine  show  color-values  expressed 
in  an  interesting  way.  There  are  great  possibilities 
for  drawings  of  many  kinds  with  brush  and  ink  and 
the  convenience  of  the  medium  strongly  recommends 
it  for  frequent  use. 


27 


Color- 

STUDY  of  the  names  of  col- 
ors, of  the  various  harmo- 
nies scientifically  found,  and 
the  use  of  colored  papers  to 
produce  designs — these  may 
all  be  of  value.     Doubtless 
such   work   has    served    to 
introduce    color  study  into 
the   schools   when   nothing 
better  could  be  attempted. 
Our  aim  should  be,  however,  to  lead  the  children  to 
love  beautiful   color.     The  teaching  must  be  done  by 
contagion. 

The  teacher  herself  must  feel  color,  and  then  the 
children,  chameleon-like,  will  take  to  themselves  the 
color  of  the  teacher. 

To  teach  color,  artistically  speaking,  brush  and  pig- 
ments are  a  necessity,  and  work  from  nature  will  do 
more  than  all  the  theory  that  can  be  given  to  awaken 
the  color  sense. 

From  the  very  first  lesson  children  should  be  en- 
couraged to  look  for  color  as  well  as  for  form,  and  to 
strive  to  reproduce  the  colors  before  them.  Even  the 
little  children  can  begin  to  look  for  variation  of  color 
in  so  simple  a  subject  as  a  blade  of  grass.  "  Is  it  green 
or  blue-green  or  yellow-green  ?"  or  "  What  color  shall 
we  mix  with  our  green  to  make  just  the  color  of  the 
grass  ?"  are  questions  to  be  often  asked  of  the  pupils. 

In  the  grammar  grades,  subjects  should  be  chosen 
that  are  full  of  color,  and  the  children  should  attempt 
to  show  as  much  as  possible  its  true  effect.  Flat  dec- 
orative color-effects  if  not  true,  are  not  to  be  recom- 
mended in  work  from  nature.  Such  work  should  follow 
as  a  decorative  exercise. 

In  teaching  the  use  of  water-color,  one  of  the  first 
things  to  impress  upon  the  children  is  the  fact  that  per- 
fectly flat  color  is  not  often  present  in  nature.  There- 


28 


fore,  it  is  not  well  to  mix  colors  thoroughly  on  the  pan. 
They  should  be  dragged  together  only  partially,  and 
applied  freshly  to  the  paper,  so  that  the  changeable 
color  quality  of  nature  may  be  suggested. 

Frequently  pure  colors  placed  side  by  side  upon  the 
paper  and  allowed  to  flow  naturally  together  will  give 
a  true  effect,  as  every  artist  knows,  and  pupils  should 
be  taught  by  artistic  methods. 

The  limits  of  this  book  will  not  allow  of  a  full  treat- 
ment of  color-work.  Moreover,  illustrations  in  color 
would  be  necessary  to  give  much  practical  help  to  the 
reader. 

But  that  it  is  perfectly  possible  with  schoolroom  con- 
ditions to  lead  pupils  to  feel  and  to  express  color  artis- 
tically has  been  abundantly  shown  by  experience,  and 
every  director  of  art  should  make  a  study  of  what  can 
be  done,  experimenting  first  m  one  or  two  rooms  until 
he  solves  the  practical  problems  for  himself. 

A  successful  color  lesson  in  a  ninth  grade  was  re- 
cently given  with  large  turnip  leaves  touched  by  the 
frost  as  a  subject.  The  colors  of  these  leaves  were 
rich  and  almost  riotous  in  their  variety  and  startling 
contrasts.  There  were  violets,  crimsons,  and  reds  and 
yellows,  greens  and  green  yellows,  a  perfected  har- 
mony extemely  beautiful.  Under  the  influence  of  the 
teacher,  the  class  caught  the  spirit  of  the  subject  and 
used  their  color  lavishly  and  with  good  effect.  The 
pupils  worked  enthusiastically,  dashing  on  pure  color 
with  much  joy  and  freedom.  The  room  grew  rather 
noisy,  for  it  was  necessary  for  pupils  to  leave  their  seats 
to  replenish  their  plates  with  color.  Several  cups  of 
water  were  overturned,  but  the  results  of  the  lesson  were 
successful.  The  class  had  felt  the  spirit  of  the  subject, 
and,  though  usually  a  quiet  class,  they  had  grown 
noisy  in  their  enthusiasm. 

The  same  class,  last  May,  painted  the  delicate  arbu- 
tus with  the  first  tender  blush  of  spring  upon  the  flow- 
ers. In  the  midst  of  the  lesson,  when  all  were  working 
with  greatest  interest,  one  was  conscious  that  the  clock 

ticked  loudly. 

29 


Decorative  Arrangement  Applied. 

ET  us  first  study  a  good 
example  of  decorative  ar- 
rangement to  find  as  far  as 
possible  wherein  lies  deco- 
rative quality.  The  repro- 
duction given  of  a  drawing 
by  Mucha,  of  Paris,  is  full 
of  suggestion  to  the  student. 
First  notice  the  main  lines, 
those  of  the  neck,  and  pencil 
being  vertical,  to  repeat 
and  accent  the  outside  lines 
of  the  enclosing  form,  while 

to    give     contrast  and  variety  are    introduced    most 
gracefully  the  flowing  lines  of  the  hair. 

Notice  next  the  values  and  their  disposition.  There 
is  a  large  central  mass  of  light  that  carries  the  eye  at 
once  to  the  interesting  parts  of  the  composition,  the 
hand  and  the  head.  Then  a  judiciously  placed  spot  of 
black  gives  force  and  richness  to  the  effect,  while  con- 
siderable half-tone  of  just  the  right  darkness  refines 
the  whole  panel.  Besides  the  large  mass  of  white,  are 
smaller  whites  above  and  below.  There  is  one  repeti- 
tion of  the  large  black  in  a  little  spot  above,  while  the 
half-tone  appears  in  a  smaller  mass  again  at  the  top. 
Of  each  of  the  three  values  there  is  a  large  mass  and 
smaller  spots. 

If  we   look  at   the   space  divisions  of   the    panel  we 
shall  find  great  variety  of  size  and  shape,  and  particu- 
larly in  the  hair  do  we  find  pleasing  gradation  of  size. 
The  beautiful  drawing  and  the  firm   decorative  line 
are  not  to  remain  unnoticed. 

If   the   lessons   of  this  panel   are  well   learned  we 

have  the  keys  to  good  work  in  decorative  arrangement. 

Notice  now  the  various  initials  given  in  this  book,  and 

see  where  and  how  these  principles  have  been  applied. 

In  designing  an  initial  the  first  consideration  is  the  let- 


30 


iHucha  (Parit). 

From  "  L'Estambe  Moderne." 


31 


ter  itself  which  should  be  the  most  prominent  part  of  the 
design  when  finished, — a  thought  often  disregarded. 
A  square  or  oblong  is  best  as  an  enclosing  form  since 
type  is  to  be  set  up  about  it.  The  letter  should  be  placed 
either  in  the  upper  right  corner  of  the  square  near  the 
word  to  which  the  letter  belongs,  or  it  should  occupy 
nearly  the  entire  space.  Plain  Roman  lettering  is  most 
satisfactory  and  should  be  copied  from  some  good  ex- 
amples like  those  on  the  cover  of  the  Century  or  Scrib- 
ner's  magazines.  All  foolish,  "  fancy  "  lettering  should 
be  discouraged.  Our  alphabet  is  an  inheritance.  It  is 
old  enough  to  be  treated  respectfully,  and  it  is  best  not 
to  try  for  originality,  so  much  in  the  letters  as  in  the 
decoration.  "  Strange's  Alphabets"  is  a  book  which 
every  art  teacher  should  possess  and  study.  There  is  a 
chance  for  the  exercise  of  much  taste  in  the  drawing  of 
even  a  plain  letter.  Aristocratic  proportions  belong  to 
the  true  Roman  alphabet  and  to  realize  those  fine  pro- 
portions is  something  well  worth  while. 

Now  applying  our  lessons  from  Mucha's  panel  to  the 
letter  design  we  decide  that  to  get  the  most  satisfactory 
effect  we  need  to  use  black,  half-tone  and  white.  Ex- 
amples show  how  this  can  be  effectively  done.  The 
letter  to  be  properly  strong  must  be  always  either  black 
or  white  according  to  the  treatment  of  the  decoration. 

To  apply  the  lesson  of  harmony  of  lines,  we  decide 
that  if  we  have  a  curved  line  letter  like  S  the  decora- 
tion would  best  be  mostly  of  straight  lines  to  contrast 
with  the  letter  and  to  repeat  the  enclosing  form.  If 
on  the  contrary,  we  have  a  letter  like  T,  having  straight 
lines  vertical  and  horizontal  that  in  themselves  repeat 
the  lines  of  the  enclosing  form,  we  can,  then,  with  good 
effect,  introduce  lines  contrasting  in  character  into  the 
decorative  treatment.  Collections  of  good  initials 
should  be  made  by  the  pupils  as  examples  to  study. 

These  same  principles  can  be  applied  to  any  kind  of 
decorative  treatment  as  a  head  or  foot-piece  or  a  book 
cover. 


Initials  by 
Miss  M.  J.  Dyer. 


34 


Original   Initials  by 
Ninth  Grade  Pupils 


85 


Design. 


VERY  student  of  design  knows 
that  many  of  the  most 
beautiful  forms  of  Greek 
design,  particularly  those 
found  on  the  vases,  were 
evolved  by  use  of  the  brush. 
The  natural  brush-stroke  is 
in  itself  graceful,  and  with 
a  twist  or  turn  or  extra  bit 
of  pressure,  design  almost 

creates  itself.  The  free  copying  of  some  of  the  brush- 
like  forms  of  Greek  ornament  should  give  to  the  pupils 
the  spirit  of  design.  They  should  do  this  copying 
without  use  of  pencil  lines,  except  very  rarely  as  guide 
lines  in  the  most  difficult  forms.  This  copying  should 
not  be  done  so  much  to  get  an  exact  reproduction,  as 
to  catch  the  feeling  of  the  artist  who  produced  it, 
so  that  the  pupil  himself  can  work  in  a  similar  spirit 
and  produce  designs  of  his  own. 

Nature  should  be  taken  only  as  a  suggestion  for 
abstract  forms  of  beauty.  For  example,  note  the  va- 
riety of  units  suggested  by  a  bit  of  hydrangea,  and  see 
how  one  has  been  applied  to  a  surface  pattern. 

Almost  anything  in  nature  is  beautiful  and  sugges- 
tive to  a  designer. 

The   sections  of    vegetables  like   the   cucumber   or 
lemon  are  good.     Even  pop-corn  has  been  used  effec- 
tively by  some  teachers  as  a  basis  for  units  of  design. 
Nature  is  full  of  suggestion  to  those  who  learn  to 
see  beauty. 

"Plant  Form  and  Design,"  by  Midgeley  and  Lilley; 
Lewis  F.  Day's  books  and  Frank  G.  Jackson's  book  on 
"  Design  "  should  be  mastered  by  those  who  attempt  to 
teach  the  subject. 


The  children  enjoy  designing  if  only  they  are  given 
the  right  start.  Book  covers  are  good  as  problems  in 
design.  Many  excellent  examples  can  be  collected  by 
pupils  and  teachers. 


Units  of  Designs 
Suggested  by  the  Hydrangea 


37 


Design  from  Unit  Suggested  by  a  Section  of  Cucumber. 


v  ^    /      -r^fc  v 

Design  from  Unit  Suggested  by  Hydrangea. 


38 


Different  Treatments  of  Design  from  Unit 
Suggested  by  Cucumber  Section. 


39 


40 


REVERIES    OF 
A  BACHCLOR. 


41 


Pictorial  Composition^ 


OME  assert  that  it  is  impos- 
sible to  teach  composition, 
saying  that  "  it  is  all  a  matter 
of  personal  feeling. " 

Though  in  our  art  schools 
"composition  classes"  are 
usually  to  be  found,  most  of 
those  familiar  with  them 
would  agree  that  up  to  the 
present  time  little  serious  attention  has  been  given 
them,  either  by  the  instructors  or  studentf,  In  Paris, 
I  have  heard  some  of  the  best  draughtsmen  in  the  Julian 
Academy  say  they  never  made  the  compositions,  for 
they  felt  it  more  important  to  spend  their  time  on 
"  more  serious  work."  That  meant  to  them  drawing 
or  painting  academic  studies  from  the  model,  not  the 
exercise  of  the  creative  imagination  which,  it  would 
seem,  presents  a  most  "  serious"  study  to  a  prospective 
artist. 

Since  the  birth  of  mural  decoration  as  an  art  in  this 
country,  I  trust  the  American  student  has  begun  to  see 
art  in  a  different  light,  and  to  realize  that  composition 
has  been  one  of  the  greatest  problems  of  the  masters  of 
painting,  from  the  Italians  down  to  our  own  time.  It 
is  true  that  some  pictures  are  known  principally  for 
their  fine  drawing,  like  those  of  Ingres,  or  for  tech- 
nique like  Frans  Hals,  or  for  rich  color,  like  the  Vene- 
tian; but  what  really  great  painter  can  we  name  whose 
power  of  composition  was  not  highly  developed,  re- 
membering that  knowledge  of  composition  shows  itself 
in  the  arrangement  on  the  canvas  of  even  a  single 
figure. 

As  Ruskin  tells  us,  no  one  can  be  taught  to  compose 
in  the  highest  sense  of  the  word.  No  teaching  will 
create  genius.  But  though  "art  can  not  be  taught" 


it  may  be  studied  intelligently,  so  that  by  some  "  it  may 
be  caught"  as  the  result  of  an  intelligent  teacher's 
direction  of  the  study. 

The  study  of  composition  is  practical  and  essential, 
a  broader,  more  comprehensive,  more  scholarly,  more 
artistic  analysis  of  the  work  of  the  masters,  a  more 
carefully  directed  series  of  problems  for  the  students, 
than  anything  that  our  art  schools  now  offer. 

Such  a  course  should  include  lectures  by  the  most 
cultured  of  critics  and  philosophers  in  art,  and  instruc- 
tion of  the  practical  and  spontaneous  kind  that  the 
artist  alone  can  give.  One  without  the  other  kind  of 
instruction  is  incomplete,  for  the  critic  takes  a  wider 
view  than  the  artist,  though  the  artist  alone  can  inspire 
the  students  to  create. 

But  to  teach  composition  in  the  public  schools — is  it 
worth  while  to  attempt  it  ?  Most  decidedly  it  is  one  of 
the  best  ways  to  open  the  minds  of  the  children  to  ap- 
preciate the  best  in  art,  and  better  still  to  see  nature 
with  the  artist's  eyes,  as  a  picture  gallery. 

"  For,  don't  you  mark?  we're  made  so  that  we  love 
First,  when  we  see  them  painted,  things  we  have  passed 
Perhaps  a  hundred  times,  nor  cared  to  see ; 
And  so  they  are  better  painted. " 

Some  one  has  truly  said,  ' '  We  compose  when  we 
select."  Here  is  a  clew  of  how  to  begin  the  composi- 
tion study.  Following  are  four  lessons 
which  have  been  successfully  tried  in 
our  upper  grammar  grades  this  past 
winter.  Brush  and  writing  ink  were 
used  as  a  medium. 

LESSON  I. — The  pupils  cut  in  a  piece 
of  paper  several  small  rectangular  open- 


Lesson  I.    Grade  VL 
43 


ings  of  different  proportions,  to  use  as  "finders." 
They  hold  them  up,  and  frame  in  the  most  interesting 
parts  of  the  plants  standing  in  the  window.  They  try 
all  the  rectangular  spaces  and  find  several  different 
arrangements,  and  each  one  makes  sketches  in  silhou- 
ettes of  the  arrangements  that  he  likes. 

As  the  children  work,  the  teacher  selects,  and  pins 
upon  the  wall,  the  best  compositions.  This  encourages 
the  class  to  work  all  the  more  enthusiastically,  as  they 
see  how  many  different  pictures  can  come  from  one 
subject.  After  quite  a  number  have  been  selected,  the 
class  stops  working,  and  the  sketches  are  discussed  by 
teacher  and  children.  They  vote  the  best,  they  tell 
what  ones  look  "  stiff;"  one  too  crowded,  another  that 


Lesson  IL     Window  Sketch.     Grade  VL 

is  too  bare  is  pointed  out,  and  suggestions  are  made  for 
improvements  in  spacing. 

LESSON  II. — The  children  draw  the  best  picture  of 
outside  objects  that  they  can  frame  by  the  window- 
pane.  They  move  their  heads,  or  sometimes  even 
change  their  seats  to  find  something  that  they  like. 
Sometimes,  if  the  window-panes  are  large,  the  paper 
"  finders  "  used  in  Lesson  I.  make  better  frames.  The 
views  from  some  windows  are  meagre,  but  it  is  won- 
derful how  even  unpromising  material  may  be  arranged 

44 


Lesson  III.    Grade  VII. 


45 


so  as  to  be  interesting.  "Values"  are  not  attempted 
in  these  sketches.  The  children  will  tell  you,  if  you 
ask  them  about  it,  that  the  roofs,  trees,  and  windows 
are  the  darkest  things  they  see.  ' '  Then  we'll  put 
them  in  dark,  wash  them  right  in  with  the  ink  and  the 
rest  we  will  outline. "  The  examples  here  given  show 
what  truth  can  be  thus  simply  expressed. 

LESSON  III.  came  in  the  season  of  snow  storms,  and 
in  some  classes  it  was  given  on  the  day  following  a 
storm.  The  children  close  their  eyes  this  time,  and 
select  the  picture  from  the  photograph  galleries  of  their 
memories. 

Perhaps  the  teacher  reads  a  bit  from  "  Snow-Bound," 
or  she  may  by  conversation  call  to  the  children's 
minds  a  snowy  field,  a  road,  a  house  and  trees.  "  How 
many  can  see  the  picture?  Which  is  lighter,  snow  or 
sky?  Then  we'll  leave  the  paper  for  the  field,  and 
put  in  a  delicate  wash  for  the  sky,  by  mixing  a  little 
ink  with  water."  The  children  all  try.  Some  do  well, 
and  the  best  are  compared  with  others  not  quite  so  suc- 
cessful. By  questions  the  children  are  led  to  criticism. 
Then  some  reproductions  of  paintings  of  snow  scenes 
(perhaps  by  Bruce  Crane)  are  shown  and  talked  over. 

When  they  go  home,  you  may  be  sure  the  children 
see  more  pictures  in  the  winter  landscape  than  they 
ever  before  thought  of.  Then  they  try  again  another 
day.  In  some  schools  they  were  so  interested  that 
several  pupils  stayed  repeatedly  after  school  to  make 
compositions  of  snow  scenes. 

LESSON  IV. — I  asked  one  ninth  grade  class  of  intel- 
ligent children,  some  questions  about  the  effect  of  a 
landscape  at  twilight.  Answers  to  so  simple  a  ques- 
tion as  ' '  which  appears  darker,  the  sky  or  the  trees 
and  buildings  against  it?  "  showed  how  little  had  been 
observed.  Few  had  felt  or  thought  of  the  beauty  that 
comes  over  the  landscape  when  day  fades  into  evening. 
I  talked  to  them  about  it,  and  told  them  what  the  great 
painter,  Whistler,  said,  and  how  he  painted  beautiful 
twilights  when  nature  "  sang  in  tune"  as  he  put  it.  I 

46 


told  them  how  simple  the  values  were,  and  tried  to 
make  them  feel  something  of  the  charm  and  mystery 
of  the  hour. 

Then  they  were  asked  to  close  their  eyes,  and  I  de- 
scribed one  or  two  scenes,  a  field,  a  line  of  trees,  a 
church  spire,  or  a  meadow,  and  a  pool  of  water  reflect- 
ing the  light  of  the  sky.  But  they  were  given  the 
choice  of  any  subject  they  could  think  of. 


Lesson  IV.    Twilight.    Grade  IX. 

47 


The  landscape  was  to  be  made  nearly  a  simple  silhou- 
ette, and  they  decided  the  sky  would  appear  a  little 
lighter  above  than  at  the  horizon.  When  finished,  the 
sketches  were  discussed.  All  the  children  observed  the 
landscape  that  evening  and  the  next,  as  they  went  home 
from  school,  and  then  tried  another  composition.  The 
improvement  in  the  class  was  wonderful.  They  at 
least  had  found  some  meaning  in  the  word  twilight. 

In  some  classes  the  teachers  brought  in  reproductions 
of  paintings  by  Tyron  and  Dewing  and  showed  them  to 
the  pupils  after  they  had  made  their  first  attempts. 
Some  pupils  caught  in  their  second  sketch  quite  a  bit  of 
the  poetry  of  these  men  applying  it  to  their  own  sub- 
jects. 

Occasionally  in  these  composition  lessons  we  discuss 
the  space  divisions.  Most  of  the  pupils  understand 
from  the  work  in  decorative  arrangement  that  variety 
of  size  and  shape  in  masses  or  spaces  is  more  interest- 
ing than  monotony.  It  is  best,  however,  not  to  insist 
very  much  upon  this  phase  of  the  subject.  Direct  and 
simple  expression  of  an  idea  is  more  important,  by  far, 
than  the  relations  of  lines  and  spaces  abstractly  consid- 
ered. If  we  attempt  to  teach  composition  by  rule  we 
are  doing  worse  that  to  attempt  nothing  at  all.  About 
all  that  can  be  done  in  school  is  to  encourage  the  chil- 
dren in  the  exercise  of  their  creative  imaginations. 
Criticisms  should  lead  toward  simpler,  clearer  means  of 
expression.  The  study  of  good  pictures  in  connection 
with  the  work  will  both  stimulate  the  imagination  and 
aid  expression.  Ruskin's  chapter  on  the  laws  of  com- 
position in  "  Elements  of  Drawing  "  should  be  an  inspi- 
ration to  a  teacher.  Sir  Joshua  Reynolds  in  his  "  Dis- 
courses "  also  gives  some  fundamental  thoughts  on  the 
subject  of  composition.  Children  may  be  led  to  feel 
the  necessity  of  obeying  most  of  these  laws,  but  the  laws 
should  never  be  given  to  the  children. 


Pen  Drawing. 


First  Practice.— Outline. 


ITH  so  good  a  medium  as 
pen  and  ink  at  hand  in  the 
school,  let  it  be  used  to  give 
variety  to  the  drawing,  if 
for  no  other  reason.  If 
your  pupils  have  been  draw- 
ing up  to  the  present  time 
in  pencil,  see  what  interest 
will  be  created  if,  some  morn- 
ing, instead  of  pencils  and  erasers,  pens  are  given 
out.  We  all  know  the  difficulty  of  getting  the  pupils 
to  work  without  too  much  use  of  the  eraser,  to  think 
before  they  draw,  to  carefully  observe  proportions  and 
character  before  placing  a  line  on  the  paper.  With 
ink,  erasure  is  impossible.  Thought  beforehand  be- 
comes a  necessity,  and  so  we  have  a  second  reason  for 
the  use  of  the  pen. 

The  pen  has  always  been  used  for  drawing  from  the 
time  when  Raphael  and  Michael  Angelo  made  studies 
for  their  paintings.  Pen-drawing,  as  it  exists  to-day, 
however,  is  a  modern  art,  the  outgrowth  of  mechanical 
processes  employed  in  engraving  illustrations.  The 
cheapness  with  which  pen-drawing  may  be  reproduced 
makes  the  medium  especially  useful  for  illustrative  pur- 
poses. Hence  there  is  a  practical  reason  for  teaching 
its  use  in  the  public  schools. 

In  what  grade  of  the  school  it  would  be  best  to  begin 
with  pen  and  ink  might  be  a  matter  of  question.  The 
sixth  would  be  certainly  quite  early  enough.  Com- 
pared with  the  pencil,  the  pen  is  difficult  to  use;  there- 
fore, it  seems  unwise  to  attempt  its  use  until  some 
facility  in  seeing  and  putting  down  proportions  cor- 
rectly has  been  acquired.  The  pen  at  first  will  seem 


51 


hard  and  unsympathetic ;  the  first  lines  will  be  crude 
and  without  feeling.  But  practice  will  tend  toward 
freedom.  In  the  hands  of  a  master,  the  pen  becomes 
almost  as  a  living  thing,  responding  to  every  impulse 
of  the  artist. 

The  distinctive  charm  of  a  pen-drawing  lies  in  the 
beauty  and  expressiveness  of  its  lines.  Though  masses 
of  light  and  shade  be  represented,  no  single  touch 
lacking  in  grace  or  character  may  be  used ;  every  stroke 
must  have  a  meaning,  must  add  something  to  the  inter- 
est of  the  sketch.  The  study,  then,  of  the  medium 
should  begin  by  the  study  of  line. 

The  first  question  usually  asked  by  the  uninitiated, 
as  he  sees  the  variety  of  lines  employed  in  a  single 
drawing,  is,  "What  pen  was  used?"  The  artist  will 
answer,  "The  pen  matters  little;  the  way  it  is  used 
matters  much."  To  be  more  explicit,  however,  almost 
any  school  writing  pen  (not  too  fine)  is  good.  It  should 
not  be  fine  enough  to  be  scratchy,  nor  so  coarse  that  a 
fine  line  can  not  be  produced. 

For  the  first  work  in  the  grammar  school,  the  ordi- 
nary writing  ink  is  good  enough,  though  liquid  India 
ink,  which  is  perfectly  black,  produces  a  better  effect, 
and  is  always  used  by  artists  in  drawing  illustrations. 

The  paper  should  be  hard  and  smooth.  A  manilla 
is  fully  as  pleasing  as  white.  The  ordinary  manilla 
used  for  pencil- work  is  too  soft,  and  is  liable  to  catch 
the  pen  and  produce  a  blurred  or  uneven  line.  Un- 
ruled writing  paper  is  as  good  as  any.  The  artists  use 
bristol  board. 

Having  decided  that  the  study  of  line  is  of  the  first 
importance,  how  can  we  better  begin  than  by  drawing 
outlines  of  natural  forms  ?  For  in  the  vegetable  world 
is  an  unlimited  variety  in  character  of  line,  and  by  con- 
tinued striving  to  reproduce  these  lines,  a  free  and  vig- 
orous touch  for  our  later  work  will  be  acquired,  if  by 
any  means. 

Perhaps  there  is  nothing  better  for  first  attempts  than 
the  outline  of  single  leaves.  Take  for  the  first  lesson 

52 


two  of  contrasted  character,  though  similar  in  general 
shape,  as  the  lilac  and  birch. 

The  pen  should  generally  be  held  so  that  the  nibs 
will  move  parallel  to  each  other.  It  can  thus  be  made 
to  draw  a  line  of  any  desired  width  according  to  the 
pressure  brought  to  bear  upon  it.  If  the  pen  moves 
sidewise,  the  nibs  taking  the  same  path,  it,  of  course, 
is  impossible  to  control  the  width  of  the  line,  as  pressure 
causes  the  nibs  to  spread  in  the  wrong  direction.  Let  us 
now  study  the  contour  of  the  two  leaves,  comparing  the 
entire  margin  of  the  lilac  with  the  jagged  edge  of  the 
birch.  Though  both  are  generally  triangular  in  shape, 
what  a  difference  in  character — the  lilac  being  heart- 
shaped,  flowing  in  outline,  the  birch  resembling  an 
Indian  arrow-head,  probably  having  served  as  its  model. 

Note  in  the  lilac  the  line  of  growth,  starting  with  the 
base  of  the  petiole  and  fol- 
lowing upward  to  the  apex 
of  the  leaf.  Then  lightly 
draw  this  main  line,  stri- 
ving to  express  in  these 
first  touches,  the  feeling 
of  vigorous  life,  the 
springing  quality  of  na- 
ture. After  lightly  indi- 
cating the  greatest  width 
of  the  leaf,  the  contour  should  be  drawn  with  ap- 
preciation for  its  suavity  and  grace. 

No  directions  can  be  given  as  to  just  how  the  pen 
should  be  used,  but  if  the  character  of  the  leaf  is  felt, 
the  student  must  express  something  of  it  in  his  draw- 
ing. He  will  learn,  as  he  goes  on,  to  draw  a  sweeping 
line  quickly,  and  yet  coaxingly.  After  drawing  the 
lilac  a  few  times,  try  the  birch.  The  line  of  growth  is 
different,  changing  direction  more  where  the  petiole 
ends  and  the  midrib  begins.  The  jagged  contour  of 
this  leaf  must  be  drawn  with  a  broken,  quick  and  an- 
gular feeling. 

We  have  made  the  drawings  thus  far  without  prelim- 

58 


jr 


inary  pencil  lines.  It  is  better,  at  first,  to  work  in  this 
way,  though  mere  ac- 
curacy of  drawing 
may  suffer.  If  pencil 
is  first  used,  as  it 
may  be  in  more  diffi- 
cult subjects,  the 
lines  should  be  so 
lightly  drawn  that 
erasure  is  unneces- 
sary, and  simply 
made  to  indicate  pla- 
cing and  propor- 
tions. If  a  light  and  /^\\  ^\  "  f 
accurate  pencil  draw- 
ing is  first  made,  and 
then  traced  over  with 
a  pen,  the  result  will  be  a  monotonous,  dull  and 
uninteresting  outline,  entirely  devoid  of  character  or 
briskness,  and  consequently  valueless.  The  strokes 
must  be  born  of  the  pen. 

After  many  sketches  of  single  leaves,  a  twig  with 
two  or  three  leaves  makes  a  good  study,  and  to  render 
the  texture  of  the  woody  twig  requires  a  vigorous 
touch. 

The  fall  of  the  year  is  an  excellent  time  for  begin- 
ning our  ink  studies.  Some  things  seem  made  for  pen 
and  ink,  and  perhaps  nothing  is  better  than  many  of 
the  seed  pods.  Among  these  are  the  milkweeds,  the 
mullein,  with  its  dried  stalk  and  leaves,  the  sedges  and 
the  grasses. 

From  pure  outline,  we  may  in  these  go  a  step  far- 
ther, and  by  a  few  well-chosen  touches,  without  actu- 
ally representing  light  and  shade,  effectively  suggest 
bits  of  detail  where  they  appear  most  prominent.  Be- 
fore doing  this,  we  must  study  our  model  carefully  with 
half-closed  eyes,  to  see  what  details  remain  most 
strongly  visible,  and  then  put  down  only  these. 

Outlines  should  also  be  studied  in  this  way,  and  those 


54 


parts  accented  which  are  seen  the  most  clearly.  Only 
the  largest  veins  in  the  leaves  should  be  drawn,  and 
these  not  too  strongly.  The  beauty  and  charm  of  our 
drawing  will  lie  in  its  suggestion,  rather  than  in  elab- 
oration. All  but  essentials  should  be  omitted,  for  we 
are  now  at  work  with  the  shorthand  of  art. 

Good  pen-drawings  are  not  hard  to  find  in  our  best 
magazines,  and  oftentimes,  too,  the  newspapers  bring 
out  clever  work. 

A  fertile  source  of  inspiration  is  the  work  of  the  Jap- 
anese, and  the  outlines  in  the  Japanese  sketch-books 
(which  are  not  expensive)  nearly  always  show  remark- 
ably fine  character.  Good  examples  before  the  class 
can  do  as  much  as  the  teacher  to  refine  the  taste  and 
quicken  the  perception  of  the  pupils,  and  to  help 
create  an  "art  atmosphere"  in  the  schoolroom. 


55 


56 


Still  Life. 


HE  principles  to  be  mastered  in 
the  study  of  artistic  expression 
are  the  same  essentially  re- 
gardless of  the  materials  em- 
ployed. 

The  old  question  which  the 
amateur  iikes  to  ask,  "Do 
you  paint  in  oil  or  water- 
color?  "  irritates  the  artist  who 
has  mastered  his  profession, 

for  the  learning  of  any  medium  is  but  a  slight  task 
compared  to  that  of  learning  to  see  truly,  and  to  record 
artistically  the  subject  in  hand.  The  masters  use 
anything  that  comes  handy,  or  perhaps  I  might  better 
say,  the  medium  best  suited  to  a  given  subject.  The 
study  of  a  medium  consists  largely  in  learning  its 
limitations,  and  knowing  for  what  subjects  we  can  ap- 
propriately use  it. 

As  I  have  already  said,  pen  and  ink  in  the  schools 
should  follow  the  work  in  pencil.  It  would  be  foolish 
indeed  to  attempt  any  light  and  shade  work  with  the 
pen  until  the  pupils  could  represent  simply  and  directly 
the  broad  effects  in  pencil  or  charcoal.  It  is  not  the 
purpose  of  this  book  to  treat  the  subject  of  drawing 
or  to  lay  out  a  course.  The  work  with  the  pen  should 
come  in  incidentally  when  the  pupils  have  done  well 
with  their  other  work.  I  therefore  assume,  on  the 
part  of  the  reader,  an  understanding  of  the  principles 
of  drawing. 

Our  work  in  pen  and  ink  outline  has  made  the  pupils 
feel  somewhat  at  home  with  the  scratchy  pen,  for  a  pen 
is  more  or  less  scratchy  at  best.  Let  us  now  give  a  lit- 
tle practice  work  to  help  in  producing  tones  or  values 
by  series  of  lines. 


Have  two  rectangles  drawn  with  pencil,  and  the  first 
briskly  covered  with  generally  parallel  lines,  about  like 
those  in  the  upper  right  part  of  Fig.  i,  that  is,  not  bear- 
ing on  heavily  or  placing  the  lines  very  near  together. 
The  left  half  may  then  be  darkened  by  going  over  with 
a  series  of  similar  lines  filling  in  the  spaces.  We  have 
thus  produced  two  light  grays.  The  beginner  likes  to 
get  his  darker  tones  by  going  over  and  over,  but  if  this 
is  done,  a  mussy  and  characterless  effect  results. 

To  get  a  darker  tone,  more  pressure  should  be  brought 
to  bear  as  in  the  second  rectangle,  right-hand  part. 


The  left-hand  portion  has  been  darkened  by  going  over. 
Oblique  lines  seem  the  easiest  to  draw,  and  for  that 
reason  have  been  used  in  this  first  practice.  It  should 
be  noted  in  the  examples  given  that  the  lines  are  not 
perfectly  straight  or  parallel,  but  are  freely  drawn.  This 
is  one  of  the  most  important  qualities  to  obtain — grace 
of  line,  lines  with  artistic  feeling.  Anything  mechan- 
ical should  be  avoided.  The  "carefully  careless  "  effect 
is  the  one  to  be  striven  for. 


58 


As  pen  and  ink  is  a  scratchy  medium,  we  must  avoid 
subjects  which  are  smooth  and  unbroken  in  character, 
and  the  white  sphere,  cylinder  and  cube  are  perhaps 
the  hardest  things  we  could  possibly  take.  They  are 
not  for  pen  and  ink  in  the  hands  of  school-children, 
and  even  a  master  would  choose  another  medium  if 
he  had  them  to  draw. 

The  bird-seed  box,  with  its  bent  covers  and  the  little 
torn  place  in  the  upper  flap,  is  as  simple  a  beginning  as 
we  could  have. 


With  a  hard  pencil,  a  light  outline  of  the  object  and 
of  the  shadows  should  first  be  drawn.  Then  the  darkest 
shadows  should  be  vigorously  hatched  in,  as  freely  as 
in  the  practice  .  lines.  Afterward  the  lighter  shades, 
and  lastly,  here  and  there,  where  absolutely  necessary, 
a  sketchy  outline.  Generally  speaking,  the  direction 
of  the  lines  used  in  the  shades  should  follow  the  direc- 
tion of  the  surfaces,  but  no  rule  can  be  given,  and  in 


59 


the  drawing  of  the  box,  the  direction  of  the  light  has 
served  as  a  suggestion  for  direction  of  line  in  several 
places.  Only  repeated  experiment  will  develop  the 
feeling  for  line,  which  is  the  all-in-all  of  pen  and  ink. 

The  basket  is  well  suited  to  pen  and  ink,  for  the  lines 
as  used  express  not  only  shade  and  direction  of  surfaces, 
but  texture.  The  series  of  short,  bold  strokes  have 
been  made  to  curve  in  imitation  of  the  withes  of  the 
basket,  and  the  ends  of  the  lines  butting  up  against 
each  other  suggest  the  vertical  strands.  Inside,  cross- 
hatching  has  been  added  to  show  these  latter,  but  it 
should  be  avoided  when  possible,  as  the  most  direct 
effects  are  the  best. 

In  both  these  subjects  color  has  been  omitted,  and 
white  backgrounds  have  been  employed  for  simplicity's 
sake. 

In  the  group  of  two  old  books,  one  of  dark  leather, 
the  other  paper,  color  is  suggested.  Here  the  direction 
of  surfaces  has  been  carefully  followed ;  the  oldness  of 
the  books  is  readily  shown  by  the  uneven  lines,  which 
the  pen  loves  so  well  to  make,  and  the  leaves  are  de- 
lightful to  represent.  Simplicity  is  of  the  greatest  im- 
portance, both  in  the  arrangement  of  objects  and  in  the 
lighting.  Not  more  than  three  or  four  values  should 
be  attempted,  everything  light  should  be  rendered 
white,  and  slight  variations  in  values  disregarded. 

Keep  watch  in  the  magazines  for  drawings  that  will 
illustrate  simple  and  direct  treatment. 

Charles  Dana  Gibson  in  Harper's,  Century  and  Life, 
is  a  good  man  to  study.  Albert  Sterner's  illustrations 
to  "  Prue  and  I,"  published  by  Harpers,  will  bean  in- 
spiration. In  the  past  Joseph  Pennell  has  done  much 
in  landscape.  The  magazines  will  possess  a  greater  in- 
terest to  the  pupils  if  their  attention  is  called  to  the  pen- 
drawings. 


60 


61 


Landscape. 


F  drawing  is  well  taught  by 
a  sympathetic  and  artistic 
teacher,  the  pupils  should 
take  great  interest  in  outside 
work,  hunting  the  town  over 
for  picturesque  bits.  Such  a 
teacher  gives  many  sugges- 
tions of  what  to  look  for, 
shows  her  own  sketch-book, 
pins  up  good  sketches  on  the 
schoolroom  walls,  and  thus  creates  enthusiasm. 

The  greatest  problem  in  sketching,  in  all  art  (we 
might  say  in  life),  is  to  see  things  simply,  to  select  the 
essentials  from  the  bewildering  masses  of  detail  that 
always  confront  us.  All  first  attempts  at  sketching  are 
"  cut  up,"  there  is  au  attempt  to  represent  too  much. 
To  learn  what  not  to  draw  is  a  most  important  thing  in 
all  artistic  work. 

It  is  seldom,  in  our  public  schools,  that  the  drawing 
teacher  can  accompany  her  pupils  out  of  doors,  and 
though  the  principles  of  drawing  are  the  same  there, 
as  with  indoor  subjects,  the  multiplicity  of  details  in 
landscape  is  apt  to  confuse  the  beginner  and  make  him 
feel  that  a  new  problem  is  presented.  "  How  do  you 
draw  trees?  "  "  Shall  I  try  to  put  in  all  those  shingles?  " 
"  How  can  I  represent  all  that  grass?  "  These  are  fa- 
miliar questions.  The  answer  must  ever  be  the  same, 
"  You  can't  draw  everything,  so  you  must  draw  only  that 
which  gives  the  effect." 

Pencil  is  by  far  the  most  convenient  and  best  medium 
for  our  sketch-books;  but  an  occasional  exercise  in  the 
schoolroom  in  translating  pencil  into  pen-sketches,  is 
excellent  practice  for  the  pupils,  as  it  gives  opportunity 
to  the  teacher  to  suggest  simpler  modes  of  working, 
and  better  notions  of  composition.  The  change  of 
medium  is  stimulating,  for  nothing  gives  opportunity 
for  a  brisker  or  more  interesting  sketch  than  the  pen. 


62 


To  choose 
subjects  and  so 
treat  them  that 
their  values 
compose  well  is 
of  great  impor- 
tance. Mr.  D. 
A.  Gregg,  well 
known  for  his 
architectural 
pen  -  drawings, 
has  published 
an  interesting 
book  on  archi- 
tectural render- 
ing in  pen  and 
ink,  for  the  help 
of  his  classes  at 
the  Massachu- 
setts Institute 

of  Technology.  Though  in  some  respects  his  methods 
are  somewhat  formal,  to  fit  the  needs  of  his  pupils,  the 
means  of  obtaining  effective  composition  of  values  is 
excellently  illustrated  by  numerous  examples.  This  is 
his  theory:  "As  to  the  arrangement  of  values,  a  few 
simple  principles  may  be  had  in  mind,  as  much  to 
help  one  to  avoid  mistakes  as  to  produce  results. 

"Breadth — Large   effects — treat  the   drawing,  as  a 
whole,  in  large  masses. 

"Principality. — Avoid  competition  of  darks  or  lights. 
"  Repetition. — Having  a  leading  dark  or  light,  smaller 
repetitions  of  the  same  bring  the  drawing  into  restful 
harmony. 

"The   principle   underlying  and   creating  all   such 
rules  is  the  demand  for  restf ulness  or  repose. " 

Ask  your  pupils,  then,  to  each   sketch   some  simple 
subject,  as  a  tower,  a  dome,  a  portico,  or  a  picturesque 

63 


old  house.  If  possible,  get  into  the  picture  a  single 
mass  of  dark  foliage,  and  it  will  be  advisable  to  make 
the  sketch  with  the  sun  shining,  so  that  well-defined 
shadows  may  be  seen.  These  shadows  should  be  our 
especial  study.  They  should  be  drawn  in  very  flatly, 
but  with  great  regard  to  their  shape.  They  are  much 
more  important  than  outlines, which  are  oftentimes  quite 
unnecessary  in  giving  the  best  effect.  Outlines  should 
be  touched  in  sparingly  where  absolutely  necessary  to 
bring  out  form  after  the  shadows  have  been  drawn. 

When  all  are  ready,  with  a  simple  and  fairly  satisfac- 
tory pencil  sketch,  it  is  time  to  consider  making  from 
it  a  pen-and-ink.  On  the  paper  or  bristol-board  which 
is  to  be  used  should  first  be  sketched  a  very  light  pencil 
outline,  including  outline  of  shadows.  Then  begins 
work  with  the  pen,  and  how  to  handle  the  lines  will  be 
a  question  which  will  present  itself.  To  this  no  defi- 
nite answer  can  be  given.  Different  artists  express 
themselves  as  differently  as  are  their  temperaments, 
and  this  individual  expression  is  one  of  the  greatest 
charms  of  their  work. 

We  may  then  say  that  the  simplest,  most  natural  way 
of  getting  the  result  is  the  best,  but  to  find  this  simplest 
way  takes  much  practice.  It  would  do  the  pupils  no 
harm  to  make  one  or  two  copies  of  good  work,  but 


they  will  gain  more  by  making 
original  sketches,  and  afterward 
studying  good  examples  of  •  pen- 
work,  to  see  how  the  difficulties 
which  they  encountered  have  been 
overcome  by  artists.  There  should, 
however,  be  no  attempt  to  imitate 
one  man's  style  of  handling;  the 
student  should  strive  to  express  na- 
ture simply.  There  is  a  great  differ- 
ence between  copying  a  manner, 
and  consulting  work  for  suggestions 
only.  The  former  is  as  the  parrot 
talks;  the  latter  is  thoughtful  study 
for  clearer  means  of  expression. 
Our  outline  studies  from  plant  life  have  shown  us  the 
joyousness,  the  grace,  the  freedom  and  vigor  of  na- 
ture's lines.  Let  us  remember  this,  and  even  when 
using  a  series  of  lines  to  produce  a  value,  make  them 
with  as  joyous  and  as  free  a  swing,  always  remember- 
ing that  the  character  of  what  we  are  drawing  should 
determine  the  character  of  our  lines. 

But,  however  the  student  may  use  his  lines  (and  of 
course  there  will  be  much  credulity),  he  should  not  try 
for  more  than  three  values.  For  example,  taking  the 
sketch  of  the  old  house,  we  have  the  dark  masses 
of  foliage,  and  two  lighter  grays  in  shades  and 
shadows.  Everything  light  is  left  white,  including 
the  sky,  the  sunny  side  of  the  building  and  the  grass. 
Shingles,  clapboards  and  bricks  have  been  neglected, 
and  yet  suggested  by  a  touch  or  two.  If  all  this  detail 
had  been  put  in  the  effect  of  sunshine  would  have  been 
lost,  for  with  our  ink,  where  every  line  is  black,  exag- 
geration is  sure  to  result.  It  is,  therefore,  a  question 
of  what  it  is  best  to  sacrifice — literal  prosy  truths  of 
construction,  or  the  poetic  truths  of  sunshine  and  air. 
Let  us  put  down,  then,  only  what  charms  us,  and  if  we 
are  looking  with  artistic  eyes,  it  will  be  the  joyous- 


65 


ness   of    nature.     The   more  we    can   leave  out,  and 
yet  say  all  that  is  interesting,  the  better. 

The  two  drawings  illustrating  some  of  the  common 
errors  of  beginners  in  pen-drawing  are  given  as  warn- 
ings of  what  not  to  do.  In  the  first  one  the  house  is 
outlined  with  a  hard,  even  line,  and  shadows  are  but 
weakly  shown.  There  is  no  definiteness  of  value,  no 
large  mass  of  dark  to  give  force  or  richness  of  effect, 
and  the  pen  has  been  timidly  used  throughout  with  no 
variety  or  beauty  of  line.  To  darken  the  trees,  mean- 
ingless cross-hatching  has  been  introduced,  and  yet 
they  are  not  nearly  dark  enough,  while  little  spots  of 
black  have  been  used  in  a  most  foolish  way  on  the  light 
side  of  the  house  in  the  windows  and  door.  The  lines 
in  the  sky  further  weaken  the  effect  of  the  drawing. 


The  second  drawing  shows  what  a  more  clever  tyro 
is  apt  to  fall  into — spottiness  of  effect.  Compare  this 
drawing  with  its  forced  darks,  and  its  false  lights,  its 
lack  of  simplicity  in  massing,  and  its  generally  unquiet 
and  cut-up  appearance  with  the  drawings  that  are  given 
as  examples  of  simple  direct  handling. 

By  studying  these  drawings  some  hints  may  be  got- 
ten. Oftentimes  the  direction  of  the  sunlight  has  been 


66 


kept  in  the  lines  of  a  cast  shadow.  In  the  old  house 
the  lines  of  the  shade  side  follow  the  direction  of  the 
clapboards.  Stronger  outlines  are  sometimes  used  in 
foreground  objects  to  assist  the  perspective.  The  foli- 
age is  treated  as  masses,  there  being  no  attempt  to 
draw  individual  leaves,  and  yet  the  character  of  the 
lines  suggest  the  modeling  of  the  trees.  Cloud  effects 
are  not  attempted. 

The  sketch  of  the  whistling  buoy  is  interesting  as  a 
simple  study  in  composition.  The  lonely  moan  of 
these  ominous  ocean  guards  must  impress  all  who  hear 
them.  Even  on  a  summer  day  they  remind  us  of  storm 
and  danger,  as  they  rock  restlessly,  while  the  sea-gulls 
wheel  about  them,  their  only  companions. 

Notice  the  "leading  dark  "  mass,  and  how  the  sky 
has  been  given  a  value  here,  to  bring  out  the  white  sail, 
and  to  make  the  water  appear  light  at  the  horizon. 

Tell  the  pupils  to  keep  on  the  lookout  for  subjects 
that  can  be  rendered  in  two  or  three  values. 


•*   '- 


^Dont's." 


68 


jjltioflr.  111    i/ 


».••'• 


N  every  high  school  are  some 
clever  and  artistic  boys  and 
girls,  who  need  but  little  urg- 
ing to  become  enthusiasts  in 
outdoor  sketching.  The  best 
incentive  to  such  work  is  the 
occasional  sight  of  interesting 
sketches,  of  familiar  local  sub- 
jects,  by  the  teacher. 
Is  not  this  too  often  forgotten,  in  the  many  duties  of 
the  drawing  supervisor,  and  does  she  not  too  often  find 
herself  becoming  a  "  teaching  machine  ?  "  Mere  talk- 
ing soon  grows  "flat,  stale,  and  unprofitable."  It  is 
the  drawing  teacher,  who  draws  and  paints,  that  com- 
mands the  respect  of  her  pupils  and  inspires  them  to 
work  by  an  enthusiasm  that  is  real. 

Of  course  she  is  busy,  if  conscientious  in  her  work, 
but  there  is  some  spare  time;  and  if  it  comes  only  in 
fragments,  a  sketch  now  and  then,  a  note  of  something 
she  would  like  to  paint,  just  a  suggestion  of  a  good 
composition,  or  a  decorative  motive — making  these 
constantly  helps  her  to  grow  in  artistic  perception  and 
feeling,  so  that  when  summer  comes,  when  she  can 
work  seriously,  she  has  gained  during  the  year,  instead 
of  losing  by  "  getting  out  of  practice." 

For  quick  notes,  nothing  will  ever  be  more  con- 
venient or  satisfactory  than  the  pencil,  but  pen  and  ink 
often  produce  an  interesting  effect  if  knowingly  han- 
dled. 

An  afternoon's  bicycle  ride  into  the  country,  with 
occasional  ten-minute  halts,  ought  to  yield  a  good  har- 
vest of  composition  notes.  A  piece  of  cardboard  with 
rectangular  openings  cut  in  it,  is  most  helpful  as  a 
44  finder."  We  can  frame  in  any  part  of  the  landscape 
by  using  these  openings  as  windows,  and  thus  decide 
upon  our  composition  before  beginning  to  draw. 

The  accompanying  sketches  are  the  result  of  an 
afternoon's  outing  on  the  wheel,  and  are  just  such  sub- 


69 


jects  as  almost  any  New  England  landscape  furnishes. 
The  placing  within  the  spaces,  the  simple  massing  of 
the  strongest  light  and  shade  effects,  and  the  free- 
handling  are  the  principal  points  to  be  noted. 

The  suggestions  given  in  previous  chapters  of  this 
series  about  composition  and  technique  have  been  ap- 
plied in  the  choice  and  treatment  of  these  simple  notes. 

They  are  intended  as  hints  of  what  the  supervisor,  by 
example,  should  lead  the  clever  high  school  boys  and 
girls  to  do  in  out-door  pen  and  ink  sketching. 


Out- Door  Notes. 


70 


71 


Rapid  Notes. 


Half-Hour  Sketch. 


74 


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